THE DEMON LOVER. After Scott. Buchan has a version under title of James Herries, the demon being here transformed into a lover who has died abroad and comes in spirit guise to punish his "Jeanie Douglas" for her broken vows. Motherwell gives a graphic fragment. Ilka, every, Drumly, dark. Won, dwell.
RIDDLES WISELY EXPOUNDED. Mainly after Motherwell. There are several broadsides, differing slightly, of this ballad. Riddling folk-songs similar to this in general features have been found among the Germans and Russians and in Gaelic literature. Speird, asked. Unco, uncanny. Gin, if. Pies, magpies. Clootie, see Burus's Address to the Deil.
"O thou! whatever title suit thee,
Auld Hornie, Satan, Nick, or Clootie," etc.
SIR PATRICK SPENS. After Scott. There are many versions of
"The grand old ballad of Sir Patrick Spence,"
as Coleridge so justly terms it, the fragment in the Reliques being un-surpassed among them all for poetic beauty. Herd's longer copy, like several of the others, runs song-fashion:
"They had not saild upon the sea
A league but merely nine, O,
When wind and weit and snaw and sleit
Cam' blawin' them behin', O."
Motherwell gives the ballad in four forms, in one of them the skipper being dubbed Sir Patrick, in another Earl Patrick, in another Young Patrick, and in yet another Sir Andrew Wood. Jamieson's version puts into Sir Patrick's mouth an exclamation that reflects little credit upon his sailor character:
"O wha is this, or wha is that,
Has tald the king o' me?
For I was never a gude seaman,
Nor ever intend to be."
But with a few such trifling exceptions, the tone toward the skipper is universally one of earnest respect and sympathy, the keynote of every ballad being the frank, unconscious heroism of this "gude Sir Patrick Spens." In regard to the foundation for the story, Scott maintains that "the king's daughter of Noroway" was Margaret, known to history as the Maid of Norway, daughter of Eric, king of Norway, and of Margaret, daughter of Alexander III. of Scotland. This last-named monarch died in 1285, the Maid of Norway, his yellow-haired little granddaughter, being the heiress to his crown. The Maid of Norway died, however, before she was of age to assume control of her turbulent Scottish kingdom. Scott surmises, on the authority of the ballad, that Alexander, desiring to have the little princess reared in the country she was to rule, sent this expedition for her during his life-time. No record of such a voyage is extant, although possibly the presence of the king is a bold example of poetic license, and the reference is to an earlier and more disastrous embassy than that finally sent by the Regency of Scotland, after Alexander's death, to their young queen, Sir Michael Scott of wizard fame being at that time one of the ambassadors. Finlay, on the other hand, places this ballad in the days of James III., who married Margaret of Denmark. Here we have historic testimony of the voyage, but none of the shipwreck,—yet against any one of these theories the natural objection is brought that so lamentable a disaster, involving so many nobles of the realm, would hardly be suffered to escape the pen of the chronicler. Motherwell, Maidment, and Aytoun, relying on a corroborative passage in Fordun's Scotichronicon, hold with good appearance of reason that the ballad pictures what is known as an actual shipwreck, on the return from Norway of those Scottish lords who had escorted thither the bride of Eric, the elder Margaret, afterward mother of the little Maid of Norway. The ballad itself well bears out this theory, especially in the taunt flung at the Scottish gallants for lingering too long in nuptial festivities on the inhospitable Norwegian coast. The date of this marriage was 1281. Skeely, skilful. Gane, sufficed. Half-fou, half-bushel. Gurly, stormy.